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  2. Would you be interested in an INON UWL-100?
  3. Today
  4. So is this the game changer lens that nearly eliminates the one advantage that crop sensor cameras still had over full frame for underwater photography? Will it create a few new converts to the Canon mirrorless platform? I'm excited and frightened. I've been eyeing the R5 for a few months now, but this announcement might actually get me to pull the trigger and cost me a lot of money.
  5. With the best will in the world, accidents do happen and, even though they are resistant to it, glass dome ports can be scratched in the field. @Alex_Mustard and @adamhanlon discuss some simple preventative procedures to help prevent this, and then provide some concrete guidance as to what to do should it occur.
  6. Good day, Just wondering if anyone know where I can source the connector plugs Nauticam uses in the hot shoe bulkhead setups. I'd like to use my electrical sync with the sync port on the camera rather than hot shoe.(And also use FO at same time for strobes above and below water) And I'd much rather not cannibalize a $69 part for a $.10 connector! LOL. Thanks! Scott
  7. As for working backwards, which is sort of how I approach things, you need to know your limits in post-processing. Which basically means being comfortable squeezing all that dynamic range into something that 'fits' a typical display via JPG. Take an image at base ISO, then ISO 400 and then ISO 800 and try boosting shadows and pulling down highlights in all three. I suspect you'll find a huge difference between base ISO and 800, and quite a lot of loss of range at 400. I lose the ability to pull down highlights pretty quick. I learned that it is more important - on my cameras - to expose for the highlights. If you have something like a Sea Rod that gets bright hot spots, you'll want to pull down the strobe power and shoot at base ISO as much as anything. I'm not sure it does much good to just pull the strobes away farther (as opposed to reducing power), but certainly it doesn't help to have a strobe situation right next to a hot spot. For example, a strobe sitting close to white coral sands on the bottom may give you a hugely distracting element that would otherwise not have been there with a different placement. Of course this means recognizing hot spots to start with. I think it helps to give yourself assignments to shoot certain subjects when you see them and then practice post-processing on them in particular. One thing that can help taming highlights from a strobe point of view is using diffusers, but you may or may not want a hard edge to the lighting for some scene you have in mind. Another is multiple strobes if you are shooting with only one. If you have not heard of the concept of ISO Invariance, you might want to look that up and read about it. I summarize it as saying it is at least just as good to shoot at base ISO in the field and boost in post as it is to shoot at a high ISO in the field to see a properly-exposed JPG. Basically, if you are good a post-processing, you may get better results doing your own exposure boosts in post as the camera would do for you in-camera. In all cases it will become obvious to you in post that you can do more pulling and pushing at lower ISOs than higher. I find it amazing how fast my images lose dynamic range by ISO 800. When I'm trying to color balance and push shadows and pull highlights, there just isn't any room left for adjustments as the high ISO has already boosted everything to the limit. It's like the difference between post-processing a RAW file and a JPG. One thing you will find is that you become suspicious of using high ISO's. They work fine when contrast and dynamic range is low, but underwater subjects lit by strobe are frequently wide dynamic range subjects. Learn to shoot at base ISO first. Nothing tames a highlight better. Other subjects do have low dynamic range. They look pretty flat because there are not very dark and very bright areas in the same frame. Doesn't much matter if you shoot ISO 3600 then. But if you are shooting a barracuda (or any silvery-scaled fish) at high ISO you may have to give up on recovering data from the highlighted areas where the strobe reflects off the scales. Sometimes you just can't win. I learned early on that there are shots not to take, because the lighting is poor. Or maybe the subject is compelling, but conditions aren't good. Just don't expect too much. Here are two shots that might help explain. Each has defects. One is lit by strobes that were too far away, the other is what you get in ambient. The ambient exposure is very grainy and has loss of detail in the subject. The flash-exposed version suffered from unfixable hot spots (not enough dynamic range in the image to pull down the highlights) and loses the background. I just could not get close enough as the subjects were skittish and keeping their distance. Pretty much any time I'm shooting wide angle I'm having issues below 30 feet or when the sky is cloudy. Strobes can never light everything, and then I have color balance issue between subjects and backgrounds. Some of the solution is a slower shutter speed, but that gets into other problems, meaning blurry fish. I really try to shoot at 1/160th as a sweet spot - faster loses too much strobe power, or in some cases hits a sync limit and gives a black line across the frame. Shooting slower leads to blurry fish. I'll go slower, but it depends entirely on the subject. Sometimes you use a very lot shutter speed, take 20 shots, and hope one of them is OK. I think many people never really try to understand and solve the issue of highlight detail. They just let hot spots blow hot and ignore them. It's a challenging environment to shoot in. Make it much more fun when you get a good result. Craig
  8. My port shipped with the focus knob installed. I don't recall anything in the box that would constitute a plug for the hole if I removed the focus knob.
  9. I could stand to remove mine. How do you plug the hole that is left?
  10. Here is a photo of the focus knob that shipped with the 28-60 port.
  11. Our pleasure. I don't think you'll regret it. The Inons have been excellent and they have a very good resale value if it came to it.
  12. I posted some pictures earlier in the discussion (30 Aug 2020) at 28mm and 30mm. Below is a picture at 24mm and you can definitely see the vignetting.
  13. Thanks guys, I’ll go with 2 Inon 330s. Sent from my iPhone using Tapatalk
  14. Ok, I just found your post about it on strobes and lights. Thank you anyway!!
  15. Did you adapt the Backscatter optical snoot to a Z330?? Please post some pictures of your DIY!! How are the results??
  16. Hey- I am looking to purchase a WWL1 from someone based based in the US. Let me know if you have one you would like to sell! Thanks!
  17. Would like to get this outta here -- asking price updated to $3000 obo for everything.
  18. A bit of news, I just picked up a Sony a1 and all the buttons work in the controls work a7s3 Nauticam Housing. Except for the controls on the left top for Still frame rate and focus, Continuous, Single and DMF and Manual.I got the a1 for surface work not UW but just tried it for fun and was soo surprised. The same experiment with the a7r4 was not as successful in the Nauticam housing. I was on the way to test the a7s3 with 16-35mm in a 180 dome (Nauticam) for balance and buoyancy in this configuration. Bad weather prevented a real field test. But this configuration balances better than the WWL-1 with a flat port and 35mm prime in fresh water IMHO. I'm back in salt water in 2 weeks, was hoping to narrow down my flying travel field kit but maybe I'll take everything! UGH!
  19. Thanks, Waterpixel. That helps. The port ships with the focus knob uninstalled. I left it off.
  20. Hi All, Looking for a second Nauticam NA-A7SIII housing and would prefer to buy used. Would need to be shipped to 33160 (or I can pickup if you're within ~50-100 miles). Thanks!
  21. Some good advice, as always, from Chris. As Chris alludes, you don't need a snoot to create a black background. A faster shutter speed can do that for you. What a snoot provides is a very narrow beam of light the width of which, to a degree, can be controlled. Think of it is an adjustable spotlight. There are a number of strobe manufacturers who make snoots which can fit on various different strobes, eg, the Retra LSD and the Inon ones. So if you went with something like the Inon Z330, getting a snoot for it is fairly straightforward and you have choices in price and function. As for the actual strobe choice, I'd suggest you are much better getting a pair the same rather than mix and match. A pair gives you the same operating controls - and therefore familiarity - a better way of controlling the light more evenly (if that's what you need), the same battery/charging requirements and fewer spares issues. The Inon strobes have proved to be very reliable over many years. The Z330s predecessor, the Z240, almost became a standard - certainly for many WP users. The Z330 seems to be heading the same way. If you do a search you'll find a couple of posts 3-4 weeks ago about using the Retra LSD snoot on the Z330 (which Chris mentions) and that it worked well. If you are looking for advice: don't buy mix and match strobes. Go with 2 Inon Z330s , get used to them and then buy a snoot when you are ready.
  22. The issue with the LX10 is that the fixed lens telescopes a lot when zooming. The port on any housing has to be quite long if it is to accommodate the full zoom range. When the LX10 lens is at 24mm equivalent the front element is retracted a long way from the front of the port. This results in vignetting and very soft corners in stills from 24 - ~36mm when shooting stills using wide wet lenses for 28mm equivalent lenses. The 36mm equivalent crop applied when shooting 4k video eliminates this vignetting. I have tested and confirmed this using the LX10 in Nauticam housing using both the WWL-1 and AOI-UWL-09. I have not had the opportunity to test WWL-C but the Port Chart does not fill me with confidence. Issotta are the only manufacturer that I am aware of that produces a LX10/LX15 housing and a user replaceable 67mm threaded short port: https://www.isotecnic.it/en/products/compact-housings/panasonic-eng/panasonic-lumix-dmc-lx10-dmc-lx15-eng https://www.isotecnic.it/en/products/compact-housings/panasonic-eng/panasonic-lumix-dmc-lx10-dmc-lx15-eng/m67-short-port-for-g7x-mark-iii-lumix-lx10-lumix-lx15-detail This short port combined with WWL-C could produce good results at 24mm equivalent on LX10, although you'd lose the benefit of zoom-through with the compatible wide wet lenses. I'd love to see if someone has tested it. You need to swap to the standard port to enable the lens to zoom if you wanted to use close up wet lens. This mandated port swapping on a compact system was the reason I sold the LX10 and switched to m43 and GH5. My wide and close up wet lenses and bayonet mounting hardware moved with me onto the Panasonic 14-42ii and deliver spectacular results with stills and video compared to the LX10. The versatility of the N85 port gives you lots of options for macro, wide and fisheye lenses.
  23. The BS strobe is really too low powered and doesn't have the beam spread to do WA work. While you can get away with a single strobe for WA shots, you will struggle to cover the 130° field of the WWL with a 110° strobe beam that you are trying to just use the edge of. While in theory you could try and balance output and coverage differences between a Z330 and the BS MF-1 strobe, underwater photography is hard enough already with handicapping yourself like that. You can certainly do macro with two Z330, it's my standard approach as I've never been big on black BG, but there's more ways than using a snoot to achieve that black BG including picking subjects that have clear water in the background and inward lighting, plus you can always add a snoot to one of the Z330s when needed , which is reported to work reasonably well. You could do all the macro stuff mentioned with two MF-1as well but would compromise on the wide angle but two Z330 would do all I mentioned (adding a snoot when required) and also do well with wide angle shots. Of course it could be argued you are better to pick each dive as either a macro or WA dive and get better results as you are setup for whichever type of photography from the start and be in the right mindset as well to find and shoot the targets you have setup for.
  24. I have left the flash trigger on for a whole week liveaboard trip. Bring spare batteries just in case but this trigger draws very little power. Is there any way to remove the focus knob on these Nauticam ports?
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